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X-WR-CALDESC:Events for Cypress College
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20171101
DTEND;VALUE=DATE:20171118
DTSTAMP:20260803T124906
CREATED:20171109T233142Z
LAST-MODIFIED:20171109T233142Z
UID:10006841-1509494400-1510963199@www.cypresscollege.edu
SUMMARY:Operation Care Package
DESCRIPTION:
URL:https://www.cypresscollege.edu/event/operation-care-package/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Clubs
ATTACH;FMTTYPE=image/png:https://www.cypresscollege.edu/wp-content/uploads/Copy-of-Fall-Festival-Flyer-1.png
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171110
DTEND;VALUE=DATE:20171111
DTSTAMP:20260803T124906
CREATED:20170801T163647Z
LAST-MODIFIED:20170801T165454Z
UID:10006442-1510272000-1510358399@www.cypresscollege.edu
SUMMARY:Veterans Day Holiday — Campus Closed
DESCRIPTION:
URL:https://www.cypresscollege.edu/event/veterans-day-holiday-campus-closed/
LOCATION:CA
CATEGORIES:Holidays
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171110T090000
DTEND;TZID=America/Los_Angeles:20171110T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006694-1510304400-1510340400@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-10/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171110T170000
DTEND;TZID=America/Los_Angeles:20171110T170000
DTSTAMP:20260803T124906
CREATED:20170801T162622Z
LAST-MODIFIED:20170801T162622Z
UID:10006429-1510333200-1510333200@www.cypresscollege.edu
SUMMARY:Men's Basketball vs. Grossmont
DESCRIPTION:
URL:https://www.cypresscollege.edu/event/mens-basketball-vs-grossmont/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Athletics
ATTACH;FMTTYPE=image/jpeg:https://www.cypresscollege.edu/wp-content/uploads/mens-basketball-1.jpg
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171111T190000
DTEND;TZID=America/Los_Angeles:20171111T190000
DTSTAMP:20260803T124906
CREATED:20171121T182342Z
LAST-MODIFIED:20171121T182342Z
UID:10006854-1510426800-1510426800@www.cypresscollege.edu
SUMMARY:Triple Threat Week: Choreographers' Showcase
DESCRIPTION:This event takes place in the Campus Theater. \nGeneral Admission: $5 \nTickets sold at the door only.
URL:https://www.cypresscollege.edu/event/triple-threat-week-choreographers-showcase/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Theater & Dance
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171113T090000
DTEND;TZID=America/Los_Angeles:20171113T150000
DTSTAMP:20260803T124906
CREATED:20170719T201029Z
LAST-MODIFIED:20170824T030135Z
UID:10006203-1510563600-1510585200@www.cypresscollege.edu
SUMMARY:UCLA Advisor Appointment
DESCRIPTION:You may sign-up 30 days in advance. Appointments will be held in the Transfer Center. \nAvailable dates:\nNov. 13th (Mon) 9am-3pm\nNov. 27th (Mon) 9am-3pm\nDec. 5th (Tues) 9am-3pm \nFor more information:\nCypress College Transfer Center\n2nd Floor Student Center\, (714) 484-7129\nOffice Hours: Mon & Thurs 8 a.m. – 6 p.m.\, Tues & Wed 8 a.m. – 7 p.m.\, Fri 8 a.m. – 5 p.m.
URL:https://www.cypresscollege.edu/event/ucla-advisor-appointment-3/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Transfer Center
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171113T090000
DTEND;TZID=America/Los_Angeles:20171113T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006695-1510563600-1510599600@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-13/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171113T100000
DTEND;TZID=America/Los_Angeles:20171113T130000
DTSTAMP:20260803T124906
CREATED:20170719T202406Z
LAST-MODIFIED:20170824T030127Z
UID:10006213-1510567200-1510578000@www.cypresscollege.edu
SUMMARY:The Art Institute Table Visit
DESCRIPTION:Table visits will take place in front of CCCPLX. No appointment is necessary. \nAvailable Dates:\nMon 11/13 10am-1pm\nMon 12/4 10am-1pm \nFor more information:\nCypress College Transfer Center\n2nd Floor Student Center\, (714) 484-7129\nOffice Hours: Mon & Thurs 8 a.m. – 6 p.m.\, Tues & Wed 8 a.m. – 7 p.m.\, Fri 8 a.m. – 5 p.m.
URL:https://www.cypresscollege.edu/event/the-art-institute-table-visit-3/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Transfer Center
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171113T160000
DTEND;TZID=America/Los_Angeles:20171113T170000
DTSTAMP:20260803T124906
CREATED:20170915T165647Z
LAST-MODIFIED:20170915T165647Z
UID:10006711-1510588800-1510592400@www.cypresscollege.edu
SUMMARY:CSU Application Workshops
DESCRIPTION:You may sign-up 30 days in advance.\nSeating is limited.\nWorkshops will be held in the Transfer Center. \nMust use the link below to sign-up for workshops:\nhttp://CypressCollegeTransferCenterWorkshops.eventbrite.com \nCypress College Transfer Center\, Student Center 2nd Floor\nPhone: (714) 484-7129\nOffice Hours: M & Th 8 a.m.-6 p.m.\,\nT & W 8 a.m.-7 p.m.\, F 8 a.m.-5 p.m.
URL:https://www.cypresscollege.edu/event/csu-application-workshops/2017-11-13/
LOCATION:Transfer Center
CATEGORIES:Transfer Center,Workshop
GEO:33.827769;-118.025317
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171114T090000
DTEND;TZID=America/Los_Angeles:20171114T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006696-1510650000-1510686000@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-14/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171114T100000
DTEND;TZID=America/Los_Angeles:20171114T130000
DTSTAMP:20260803T124906
CREATED:20171026T173314Z
LAST-MODIFIED:20171026T173314Z
UID:10006837-1510653600-1510664400@www.cypresscollege.edu
SUMMARY:Majors 2 Careers Showcase
DESCRIPTION:
URL:https://www.cypresscollege.edu/event/majors-2-careers-showcase/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Career Planning Center,Open House
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171114T153000
DTEND;TZID=America/Los_Angeles:20171114T163000
DTSTAMP:20260803T124906
CREATED:20171005T175620Z
LAST-MODIFIED:20171005T175620Z
UID:10006349-1510673400-1510677000@www.cypresscollege.edu
SUMMARY:Service Dogs vs. Emotional Support Animals:  What’s the difference? Workshop
DESCRIPTION:DSS Mini Workshop Series – Workshop #3\nDiscover the differences between\, laws about\, and student requirements for service animals and emotional support animals. \nLocation: Humanities 110
URL:https://www.cypresscollege.edu/event/service-dogs-vs-emotional-support-animals-whats-the-difference-workshop/
LOCATION:CA
CATEGORIES:DSS,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171115
DTEND;VALUE=DATE:20171116
DTSTAMP:20260803T124906
CREATED:20170829T164223Z
LAST-MODIFIED:20171003T183459Z
UID:10006533-1510704000-1510790399@www.cypresscollege.edu
SUMMARY:Donate a Day of Service
DESCRIPTION:Donate A Day of Service is an event where multiple non profit organizations get together to recruit Cypress College volunteers by the pond. This event is very hands on. Students can help make sandwiches for the homeless\, write veterans letters and sign up to feed the less fortunate on Thanksgiving and  much more. This event allows students to give back to the community and those in need.
URL:https://www.cypresscollege.edu/event/donate-a-day-of-service/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Associated Students
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171115T090000
DTEND;TZID=America/Los_Angeles:20171115T120000
DTSTAMP:20260803T124906
CREATED:20170926T204719Z
LAST-MODIFIED:20170926T204719Z
UID:10006813-1510736400-1510747200@www.cypresscollege.edu
SUMMARY:Vanguard University Table Visit
DESCRIPTION:No appointment necessary. \nCypress College Transfer Center\, Student Center 2nd Floor\nPhone: (714) 484-7129\nOffice Hours: Monday & Thursday 8 a.m.-6 p.m.\, Tuesday & Wednesday 8 a.m.-7 p.m.\, Friday 8 a.m.-5 p.m. \nThe event is happening in front of CCCPLX.
URL:https://www.cypresscollege.edu/event/vanguard-university-table-visit/2017-11-15/
LOCATION:CA
CATEGORIES:Transfer Center,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171115T090000
DTEND;TZID=America/Los_Angeles:20171115T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006697-1510736400-1510772400@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-15/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171115T100000
DTEND;TZID=America/Los_Angeles:20171115T113000
DTSTAMP:20260803T124906
CREATED:20170801T152654Z
LAST-MODIFIED:20170824T030117Z
UID:10006426-1510740000-1510745400@www.cypresscollege.edu
SUMMARY:Federal Direct Loan Workshop
DESCRIPTION:Students who request Federal Direct Loans (Subsidized and Unsubsidized) at Cypress College must meet the loan eligibility and satisfactory academic progress (SAP) requirements established by the Financial Aid Office. \nLoan Eligibility Policy \nSatisfactory Academic Progress (SAP) Policy \nSign up for an in-person Loan Workshop!\nSignups must be done at least 24 hours in advance and in-person at the Cypress College Financial Aid Office (1st Floor of the CCCPLX Building). You must bring a picture ID with you. Cypress College strongly encourages all borrowers to attend. \nPlan to arrive 10 minutes early to sign in.
URL:https://www.cypresscollege.edu/event/federal-direct-loan-workshop-8/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Financial Aid,Workshop
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171115T153000
DTEND;TZID=America/Los_Angeles:20171115T163000
DTSTAMP:20260803T124906
CREATED:20171005T175829Z
LAST-MODIFIED:20171005T182837Z
UID:10006817-1510759800-1510763400@www.cypresscollege.edu
SUMMARY:Managing Difficult Student Behavior in the College Classroom Workshop
DESCRIPTION:DSS Mini Workshop Series – Workshop #4\nDiscuss ways to deal with disruptive and distressed students. \nLocation:  CCCPLX 417
URL:https://www.cypresscollege.edu/event/managing-difficult-student-behavior-in-the-college-classroom-workshop/
LOCATION:CA
CATEGORIES:DSS,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171115T170000
DTEND;TZID=America/Los_Angeles:20171115T170000
DTSTAMP:20260803T124906
CREATED:20170605T183352Z
LAST-MODIFIED:20170824T030109Z
UID:10006357-1510765200-1510765200@www.cypresscollege.edu
SUMMARY:Dental Hygiene Program
DESCRIPTION:HEALTH  SCIENCE  DIVISION  COUNSELING INFORMATION  WORKSHOP  SERIES – SUMMER 2017 & FALL 2017 \nPlease go to http://cypresscollegehealthscienceworkshops.eventbrite.com/ to make a reservation for a specific workshop.  Attendees will need to print the ticket or present the receipt from their cell phone (instead of printing the receipt/ticket) to be admitted to the workshop. Reservations are required for all workshops. The reservation period is 10/5/17 through 11/15/17. \nThe Dental Hygiene Program workshop takes place in Tech Ed 3\, Room 222. \nParking lot 4 is closest to the Tech Ed 3 building. Parking lot 9 is closest to the Humanities Lecture Hall 131. NOTE: Cypress College is now using an online parking management system for parking arrangements.  Go to  http://parking.cypresscollege.edu and click on visitor (1 day guest pass). You must enter your vehicle license plate number\, state\, make\, model\, color\, your name\, your phone number\,  your email address\, purpose for visit\, and date of visit. Parking costs $2.00 (using credit or debit card for payment\, no cash excepted) for a guest pass to park for any workshop.  There are also parking kiosks in lot 1\, lot 4\, and on the cypress college circle\, near baseball fields – across from lot 5.  Credit and debit cards only; no cash accepted. \nSee the Health Science office for questions at (714) 484-7270.  After business hours\, contact Campus Safety for questions at (714) 484-8367.
URL:https://www.cypresscollege.edu/event/dental-hygiene-program-2/
LOCATION:9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Health Science,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171115T180000
DTEND;TZID=America/Los_Angeles:20171115T180000
DTSTAMP:20260803T124906
CREATED:20170816T000331Z
LAST-MODIFIED:20170816T000331Z
UID:10006489-1510768800-1510768800@www.cypresscollege.edu
SUMMARY:Women's Volleyball vs. Santa Ana
DESCRIPTION:
URL:https://www.cypresscollege.edu/event/womens-volleyball-vs-santa-ana/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Athletics
ATTACH;FMTTYPE=image/png:https://www.cypresscollege.edu/wp-content/uploads/womens-volleyball.png
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171116T090000
DTEND;TZID=America/Los_Angeles:20171116T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006698-1510822800-1510858800@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-16/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171116T120000
DTEND;TZID=America/Los_Angeles:20171116T130000
DTSTAMP:20260803T124906
CREATED:20170925T192432Z
LAST-MODIFIED:20170925T192432Z
UID:10006799-1510833600-1510837200@www.cypresscollege.edu
SUMMARY:Cypress Bistro
DESCRIPTION:Cypress Bistro is a Cypress College student-operated restaurant. Students combine their classroom knowledge with hands-on experience to provide trending cuisine and outstanding service. \nSouthern\nSeptember 28 \nLouisiana\nOctober 5 \nTexas Buffet\nOctober 12 \nOktoberfest\nOctober 26 \nCalifornia\nNovember 2 \nPacific Northwest\nNovember 9 \nHawaii\nNovember 16 \nPhilippines\nNovember 30 \nMediterranean\nDecember 7 \nLunch is served from 12:00 to 1:00 PM\, last seating is at 12:15\, and consists of a three course meal and includes choice of appetizer\, entrée and dessert for $13.00; beverages are an additional $2.00. Cypress Bistro accepts cash only. \nTo create the optimal learning environment for student success\, we prefer parties not larger than 4 guests and do not accommodate to go orders. For reservations\, please email your full name and phone number to Tracey Heine\, theine@nocccd.edu  If your plans change\, please cancel within 24 hours to allow guests on our wait list to enjoy. \nLocated at NOCCCD Anaheim Campus 1830 W. Romneya Drive\, Anaheim.
URL:https://www.cypresscollege.edu/event/cypress-bistro/2017-11-16/
LOCATION:CA
CATEGORIES:Cypress Bistro
ATTACH;FMTTYPE=image/jpeg:https://www.cypresscollege.edu/wp-content/uploads/appetizer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171116T123000
DTEND;TZID=America/Los_Angeles:20171116T133000
DTSTAMP:20260803T124906
CREATED:20170915T170138Z
LAST-MODIFIED:20170915T170138Z
UID:10006725-1510835400-1510839000@www.cypresscollege.edu
SUMMARY:UC Application Workshops
DESCRIPTION:You may sign-up 30 days in advance.\nSeating is limited.\nWorkshops will be held in the Transfer Center. \nMust use the link below to sign-up for workshops:\nhttp://CypressCollegeTransferCenterWorkshops.eventbrite.com \nCypress College Transfer Center\, Student Center 2nd Floor\nPhone: (714) 484-7129\nOffice Hours: M & Th 8 a.m.-6 p.m.\,\nT & W 8 a.m.-7 p.m.\, F 8 a.m.-5 p.m.
URL:https://www.cypresscollege.edu/event/uc-application-workshops/2017-11-16/
LOCATION:Transfer Center
CATEGORIES:Transfer Center,Workshop
GEO:33.827769;-118.025317
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171116T160000
DTEND;TZID=America/Los_Angeles:20171116T160000
DTSTAMP:20260803T124906
CREATED:20170605T205314Z
LAST-MODIFIED:20170824T030059Z
UID:10006385-1510848000-1510848000@www.cypresscollege.edu
SUMMARY:Radiologic Technology Program
DESCRIPTION:HEALTH  SCIENCE  DIVISION  COUNSELING INFORMATION  WORKSHOP  SERIES – SUMMER 2017 & FALL 2017 \nPlease go to http://cypresscollegehealthscienceworkshops.eventbrite.com/ to make a reservation for a specific workshop.  Attendees will need to print the ticket or present the receipt from their cell phone (instead of printing the receipt/ticket) to be admitted to the workshop. Reservations are required for all workshops. The reservation period is 10/16/17 through 11/16/17. \nThe Radiologic Technology Program workshop takes place in Tech Ed 3\, Room 222. \nParking lot 4 is closest to the Tech Ed 3 building. Parking lot 9 is closest to the Humanities Lecture Hall 131. NOTE: Cypress College is now using an online parking management system for parking arrangements.  Go to  http://parking.cypresscollege.edu and click on visitor (1 day guest pass). You must enter your vehicle license plate number\, state\, make\, model\, color\, your name\, your phone number\,  your email address\, purpose for visit\, and date of visit. Parking costs $2.00 (using credit or debit card for payment\, no cash excepted) for a guest pass to park for any workshop.  There are also parking kiosks in lot 1\, lot 4\, and on the cypress college circle\, near baseball fields – across from lot 5.  Credit and debit cards only; no cash accepted. \nSee the Health Science office for questions at (714) 484-7270.  After business hours\, contact Campus Safety for questions at (714) 484-8367.
URL:https://www.cypresscollege.edu/event/radiologic-technology-program-3/
LOCATION:9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Health Science,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171116T180000
DTEND;TZID=America/Los_Angeles:20171116T180000
DTSTAMP:20260803T124906
CREATED:20170605T184546Z
LAST-MODIFIED:20170824T030049Z
UID:10006360-1510855200-1510855200@www.cypresscollege.edu
SUMMARY:Diagnostic Medical Sonography Program
DESCRIPTION:HEALTH  SCIENCE  DIVISION  COUNSELING INFORMATION  WORKSHOP  SERIES – SUMMER 2017 & FALL 2017 \nPlease go to http://cypresscollegehealthscienceworkshops.eventbrite.com/ to make a reservation for a specific workshop.  Attendees will need to print the ticket or present the receipt from their cell phone (instead of printing the receipt/ticket) to be admitted to the workshop. Reservations are required for all workshops. The reservation period is 10/16/17 through 11/16/17. \nThe Diagnostic Medical Sonography Program workshop takes place in Tech Ed 3\, Room 222. \nParking lot 4 is closest to the Tech Ed 3 building. Parking lot 9 is closest to the Humanities Lecture Hall 131. NOTE: Cypress College is now using an online parking management system for parking arrangements.  Go to  http://parking.cypresscollege.edu and click on visitor (1 day guest pass). You must enter your vehicle license plate number\, state\, make\, model\, color\, your name\, your phone number\,  your email address\, purpose for visit\, and date of visit. Parking costs $2.00 (using credit or debit card for payment\, no cash excepted) for a guest pass to park for any workshop.  There are also parking kiosks in lot 1\, lot 4\, and on the cypress college circle\, near baseball fields – across from lot 5.  Credit and debit cards only; no cash accepted. \nSee the Health Science office for questions at (714) 484-7270.  After business hours\, contact Campus Safety for questions at (714) 484-8367.
URL:https://www.cypresscollege.edu/event/diagnostic-medical-sonography-program-3/
LOCATION:9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Health Science,Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171117T090000
DTEND;TZID=America/Los_Angeles:20171117T120000
DTSTAMP:20260803T124906
CREATED:20170830T181135Z
LAST-MODIFIED:20170830T181135Z
UID:10006641-1510909200-1510920000@www.cypresscollege.edu
SUMMARY:DeVry University Table Visits
DESCRIPTION:No appointment necessary. The table visit will take place in front of CCCPLX. \nCypress College Transfer Center\n2nd Floor Student Center\n(714) 484-7129\nOffice Hours: Monday & Thursday 8 a.m. – 6 p.m.\,\nTuesday & Wednesday 8 a.m. – 7 p.m.\, Friday 8 a.m. – 5 p.m.
URL:https://www.cypresscollege.edu/event/devry-university-table-visits/2017-11-17/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Transfer Center
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171117T090000
DTEND;TZID=America/Los_Angeles:20171117T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006699-1510909200-1510945200@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-17/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171117T093000
DTEND;TZID=America/Los_Angeles:20171117T130000
DTSTAMP:20260803T124906
CREATED:20171004T225339Z
LAST-MODIFIED:20171004T225339Z
UID:10006337-1510911000-1510923600@www.cypresscollege.edu
SUMMARY:Fall Research Symposium
DESCRIPTION:This event takes place at the Old Ranch Country Club in Seal Beach.
URL:https://www.cypresscollege.edu/event/fall-research-symposium/
LOCATION:9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:STEM
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171119T080000
DTEND;TZID=America/Los_Angeles:20171119T170000
DTSTAMP:20260803T124906
CREATED:20170801T165950Z
LAST-MODIFIED:20170801T165950Z
UID:10006235-1511078400-1511110800@www.cypresscollege.edu
SUMMARY:Last Day to Drop Classes WITH a "W"
DESCRIPTION:
URL:https://www.cypresscollege.edu/event/last-day-to-drop-classes-with-a-w/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Important Dates to Remember
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20171120
DTEND;VALUE=DATE:20171121
DTSTAMP:20260803T124906
CREATED:20170829T164418Z
LAST-MODIFIED:20170829T170110Z
UID:10006536-1511136000-1511222399@www.cypresscollege.edu
SUMMARY:Basket Distribution
DESCRIPTION:AS distributes baskets with a large turkey\, stuffing\, and  along with many other Thanksgiving goods to those who need some holiday help!
URL:https://www.cypresscollege.edu/event/basket-distribution/2017-11-20/
LOCATION:Cypress College\, 9200 Valley View St.\, Cypress\, CA\, 90630\, United States
CATEGORIES:Associated Students
GEO:33.8280924;-118.0252758
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Cypress College 9200 Valley View St. Cypress CA 90630 United States;X-APPLE-RADIUS=500;X-TITLE=9200 Valley View St.:geo:-118.0252758,33.8280924
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20171120T090000
DTEND;TZID=America/Los_Angeles:20171120T190000
DTSTAMP:20260803T124906
CREATED:20170912T165559Z
LAST-MODIFIED:20170912T165559Z
UID:10006700-1511168400-1511204400@www.cypresscollege.edu
SUMMARY:Photo Exhibition
DESCRIPTION:FIVE SOLO SHOWS \nSeptember 14 – November 17\, 2017\nThe Edouard de Merlier Photography Gallery\nCypress College \nThis autumn Cypress College is honored to exhibit the works of five\naccomplished female visual artists who utilize\, in their individual\npractices\, radical approaches for create photographic works. As\nphotography pushes forward in the digital space at a rapid speed\, it\nis imperative that the Photography Department share contemporary\nartists who have not succumbed to the motto that\, “Film is Dead.”\nThese artists still use traditional\, “historical” processes such as\npinhole\, lumen prints\, collage\, photograms\, and other alternative\nprocesses but in a new inventive way. Each of these artists use a\nlabor-intensive process-based exploration\, with many of them still\nusing an analog darkroom to develop their prints. These five artists\nexplore current and historical “landscapes” wherein the past affects\nthe current\, the current affects the future\, and the collision between\nthe two create a new history with uncertain consequences. \nIn Ginny Cook’s series Natural Selection\, she cuts out singe\nwords\, lays them out on a table in her studio\, photographs them\,\nand later develops them as silver gelatin prints. Each of these words\nindicates an endangered or extinct flora or fauna\, connecting our\nown mortality with the fragile environment around us. Her use of\nlanguage and word play is rendered completely monochromatic by\nnever sharing any actual plant or animal imagery. Without any visual\ncues to that which these words refer\, the viewer is left questioning\nwhere they stand in relation to these words and what personal\nexperiences are conjured up upon seeing them. Cook hopes to\nexpose our connection to nature\, and these images leave the viewer\nwondering about the larger operations of our day to day life\, and\nways in which these words and phrases affect us. \nAmong this group of artists\, is the newest and first full-time female\nphotography instructor at Cypress College\, Julie Shafer. Often\nworking directly with nature\, Shafer is interested in working in ways\nthat allow the terrain to make it’s own record on the photographic\nsurface. In her series Wait ‘til You See the Devil’s Punchbowl\, Julie\nwent to coastal Louisiana\, and the bayous of the Atchafalaya Basin\nto record the terrain that has been altered by years of mining. Shafer\nhas used a few methods for creating this work; a 4×5 camera and\nfilm records only the red spectrum of light in oil fields\, contaminated\nsinking bayous\, and defunct oil platforms\, and a series of lumen\nprints are a record of a chemical reaction between the silver in the\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nphotographic paper\, the sun\, flora and contamination from cracked oil\nlines that have been in the waters for decades.We are seeing\nsomething the naked eye can’t see\, much like we don’t typically see\nthe ever-changing deviation of the physical landscape. \nKristine Thompson’s series Images Seen to Images Felt also\ninvestigates this idea of social and political history\, however as seen\nthrough the lens of current events. Thompson often watches and\nresearches the images that news systems are displaying and how\nthey are representing photographic imagery to the public. She\nfocuses a lot of her work on death and mourning\, a topic that is\nconstantly streaming to us on contemporary news outlets. She will\ntake her laptop into the darkroom\, hold a silver gelatin piece of paper\ndirectly to the screen\, and allow a transfer to happen from screen to\npaper. In many of the images\, you can still see a sliver of a bar\nindicating where she had paused the broadcast or blurry icons of the\nInternet address bar. While these details are not in every image\, she\nnever attempts to hide that fact that the “original images” were not\nher own. These are stories of and by the public and thus the use of\nthe images is seemingly universal. When installing them within\ngallery spaces\, she groups them together based on both formal and\nemotional connections that may otherwise not have been discussed.\nShe also displays both positive and negative prints\, only suggesting\nfurther how our news is being shared with us and how it affects us\nupon seeing it. \nCarly Steward taking this concept into play in the most hands on\,\nphysical kind of way with her work Pages. Steward takes art history\nbooks and lands on an image that strikes her interest. She will then\ncut around the outside of the image leaving a shape in the frame of\nthe paper. From the cut out shape\, you are able to see the images\nfrom the following pages through the initial cutout. She will then\ncontinue this many layers deep\, perhaps passing on some images or\nonly cutting out a portion of that artist’s painting\, sculpture\, or\ndrawing from the book. When she is complete with the handiwork\nand craft portion of each book that she has dissected\, she will then\nphotograph the object making it whole again. Like Thompson\, she is\nallowing us to see insights of a history lived\, however fragmented\,\nbroken\, or inconclusive it may be. By photographing them at the end\nof the project\, she is trying to present to us a history that has been\npatched together – a history that we may only have gotten bits and\npieces of depending on the person telling the story and that this is\nthe history we are to move forward with. \nBuilding on this idea of the history that we know and the history that\nhas been laid out before us\, Cathy Akers most recent series Open\nHearts\, Open Land explored three current communes here in the\nUnited States. She collaged together historical images with\nphotographs she took while living at\, and\, visiting these communes\nfor this project. The viewer can feel the tension of her splicing\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\ntogether these images\, the past and the present\, as well as the\ntension of her being an outsider in an environment built upon\nrevolutionary zeal and community. Akers admits that while she\nrespects and understands the ideals that these communities were\ncreated upon\, they don’t quite account for the changes within the\ncurrent social and political landscape. \nThe five solo exhibitions will be displayed in the main lobby and\ncorridors of The Edouard de Merlier Photography Gallery\, located\njust outside the Photography Department at Cypress College\,\nbeginning on Thursday\, September 14\, 2017 through November 22.\nThe show will be open Monday-Friday 9am-7pm and is free to both\nstudents and the general public. Parking is available at 9200 Valley\nView Street\, Cypress\, CA 90630 with Lots 1\,2\, or 3 closest to the\nTechnical Education Building 1. You will find the gallery located on\nthe second floor of TE1. \nTo see more from each of these artists\, please visit their websites.\nwww.cathyakers.com\nwww.ginnycook.net\nhttp://julie-shafer.com/home.html\nwww.carlysteward.com\nwww.kristinethompson.com
URL:https://www.cypresscollege.edu/event/photo-exhibition/2017-11-20/
LOCATION:Photography
CATEGORIES:Photography
GEO:33.827402;-118.025489
END:VEVENT
END:VCALENDAR